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Actually, the only weak moment here is "Mirielle" which is a relaxing track and good in itself, only weaker than the rest of the album generally. Too bad this album is often overlooked and forgotten, because it's a great album and I would strongly recommend this album to any starving jazz-rock fanatic who looks after some more jazz-rock to listen to.

My rating: 4. Night Illusion and Shadows Of are tunes that Allan Holdsworth has recreated with other bands and different titles, but these recordings are among my favorites.

Holdsworth's guitar work shines and weaves in and out of the mix. Very heady, indeed. Percolations part 1 and 2 is one huge drum solo. The first part being more band oriented, the second, pure Pierre Morelen in a classic workshop for percussion enthusiasts. Maybe not a tune for love making, but it will propel you down a highway nearly six inches above the pavement.

Expresso and Esnuria, penned by Morelen, follow the course with Francis Moze laying down some powerhouse bass lines, fretless howls and propulsive bottom. Didier Malherbe's sax work on Esnuria adds flavor to the track. The final track Mireille is a soft melancholy end to an album that maintains high energy throughout, rather strange? It reminds me of the wind down after an all out Hurricane Party.

Sleepy no, that on the next album. But then, along comes Gazeuse - one of the finest, most enjoyable, and accessible jazz rock albums to force itself into my conciousness, with the added bonus of Allan Holdsworth taking guitar duties.

The album sways between guitar-led jazz fusion the melodies reminiscent of the direction Zappa was taking around the same time to all out percussion jams - interestingly, some of the marimba lines and drum patterns Album) suspiciously similar to those currently appearing during Neil Peart's drum solos - one suspects a certain Canadian owns a well played version of this album. The closing track, Mireille is sometimes criticised for sticking out like a sore thumb, and being something of a time filler - I believe this sits well with the rest of the album, providing a welcome laid back, minimalist finale to the preceding jazz feast.

I would highly recommend this album to anyone interested in mid '70s jazz rock fusion, but not to someone expecting wistful dreams of flying teapots, or indeed to anyone expecting progressive rock - this is jazz fusion, pure, simple, and perfect.

The track, "Expresso," starts out the album on a high note. The main theme is set and everything is based off of it. This theme is certainly catchy and will stay in your head for a long time. Next comes "Night Illusion," a Holdsworth tune.

Holdsworth sets the mood on this one with his magnificent electric guitar playing. The highlight of this track is Pierre Moerlen's wonderful solo at the end of the piece. Side two starts out with "Shadows Of Pts.

Again, Holdsworth shines on this one, along with the percussionists. The next track, "Esnuria," is a good piece, but not the album's best.

The album ends with "Mireille", whixh I'm guessing is a homage of sorts to Mireille Bauer, who played percussion on the album. Many think that this piece seems out of place on the album, but I disagree. I like the incorporation of the keyboards by Moze. It's a great way to finish off this excellent album.

Overall, this album can be seen as a true turning point for Gong. If you enjoy mallet-induced fusion with outstanding woodwind parts by Didier Malherebe and Holdsworthian guitar you probably would want to check this album out. Both Holdsworth and Malherbe contribute greatly on this album. Holdsworth also gets more say in writing and composing on this, which is why I think it is better than its successor, "Expresso II.

Well, GAZEUSE, we soon agreed, was the best-recorded album ever, and even after so many years I still feel it's got a special 'shine' which has never been equalled. Part of the explanation must lie with the soloists guitar virtuoso Allan Holdsworth really steals the show here ; another part lies with the producer and the engineers. If you go and listen to Bill Bruford, for example, you'll get exactly the same sound as on CD.

His extended drum solo must be one of the most exciting ever: one of the few that don't make me reach for the skip button - on the contrary, I always look forward to it. And then there are those gamelan-like sounds Moerlen produces on vibraphones and marimba together with his brother Gong - Gazeuse! (Vinyl and Mireille Bauer, on "Percolations Part One" - all wonderfully dreamy and clear, and it was LP masterstroke to combine them with subtle washes of pedal steel guitar.

The most attractive compositions on GAZEUSE are the uptempo numbers "Expresso" and "Esnuria", both of which always got my friend and me nodding to each other and grinning with pure pleasure, as the rhythms are incredibly enticing, the melodies are full of good humour, ensemble-playing is first-rate, and both Holdsworth and Bloomdido-Bad-Grass come up with some of their greatest solos.

Finally, the semi-acoustic "Mireille" on which the album ends is a piece I never paid much attention to, but over the years it has grown on me, and now I feel it's a deeply moving love song. I still like the Moerlen version better than the Allen one.

They are almost two completely different bands. Allen's Gong being more psychedelic and Moerlen's being more Jazzy. What's really cool about this one is the presence or another Allan, Mr. He doesn't sing, but is a much better prog guitarist. Holdsworth was party to some great sessions while he was drifting around from band to band to band. And, if you're fan of instrumental prog music, you really need to check out his solo albume.

Pierre Moerlen took the lead and backed by the enormous contribution of Malherbe's woodwinds, produced a jazz-rock masterpiece. Pierre and Benoit Moerlen, Mireille Bauer and Mino Cinelou act like a percussive symphonic orchestra, utilizing legions of instruments, some of which I never heard of before. Apart from Pierre's drum kit, you can hear vibraphone, marimba, glockenspiel, xylophone, congas, African bell-gong, cuica, maracas, talking drum, vibra, timpani The best example of their capabilities is a two-part percussion suite Percolations, which remind you that even the sole percussive rhythm instruments can create real music.

Another important contribution to this album is unbelievable lead guitar of Allan Holdsworth. The sound of his guitar is really unique and compositions where he gives his best like Expresso or Shadows Of are masterpieces of jazz-rock. Although the confirmed adherents to the earlier Radio Gnome Invisible space-rock mythology will probably dismiss Gazeuse!

Some tasteful guitar after a minute with light drums, vibes and bass. Great sound with the guitar leading the way for some time. Sax takes over for guitar after 3 minutes. Nice drum work 4 minutes in. Very good tune. A calm comes in quickly with vibes, bass and light drums as guitar is tastefully played.

This contrast continues. Another excellent song. Gongs are hit occasionally. The tempo picks up with drums after 2 minutes, but it's brief. As the title suggests the song just sort of percolates slowly. Drums are back after 4 minutes as vibes go wild. The drums gradually take right over until we have a full blown drum solo.

It isn't the type of drum solo that makes me roll my eyes either, this is amazing folks! Flute, bass and vibes are all outstanding on this track. Guitar comes in as the tempo picks up 3 minutes in. Man this guy can play the guitar! He just lights it up until 5 minutes in when we get a full band sound. A calm follows then flute, light drums and percussion take over. Some bass joins in and then guitar to end it. Fantastic track!

Vibes and sax come in. Just a collage of terrific sounds at this point. Liquid sounding keys from Moze with intricate acoustic guitar makes this a truly beautiful way to end the album. A must for fans of Jazz Fusion. The first thing I noticed was the inclusion of guitarist Allan Holdsworth to the lineup. He has replaced Steve Hillage ArzachelKhan who allthough been credited as a full-time member of the band on Shamal actually only guested on a couple of tracks on that album. The inclusion of Allan Holdsworth gives Gong a much more guitar oriented sound on Gazeuse.

His style is unmistakable. His jazzy and adventurous soloing is dominant in songs like ExpressoNight Illusion and Shadows Of. While Gazeuse has no links whatsoever to the Daevid-ian Gong, it is certainly no less an album, just as worthy but differently, but likely to appeal to a different kind of proghead. For Jazz-Rock fanatics, this album is a must buy.

Gong really did a masterful work with this release and it quickly became one of my favourite Jazz-Rock recordings. The addition of Allan Holdsworth on guitars as a replacement for Steve Hillage really worked well here, giving the album a typical Holdsworth sounding appealing to it. His playing and solos flows together hand in hand with the elegant and jamming jazz-fusion music masterfully, and the overall mood features an unique and typical "late-night listening" atmosphere.

The heavy use of marimbas, xylophones and glockenspiels has a colourful and relaxing effect on the music, something that obviously would be a trademark for Gong on later releases, but it works best here, "Percolations Part 1" being the best example of this, considering that the whole track is made with percussion instruments. Didier Malherbe is not so dominant here, contributing fewer saxophone parts than before, all being very good though. Pierre Moerlen's drumming is brilliant as always and his brilliant and incredibly tight drumming gives me goosebumps everytime.

Overall; a very colourful, percussion and guitar oriented jazz-rock release from Gong, backed up with the excellent playing from all musicians involved, very few weak moments. Actually, the only weak moment here is "Mirielle" which is a relaxing track and good in itself, only weaker than the rest of the album generally. Too bad this album is often overlooked and forgotten, because it's a great album and I would strongly recommend this album to any starving jazz-rock fanatic who looks after some more jazz-rock to listen to.

My rating: 4. Night Illusion and Shadows Of are tunes that Allan Holdsworth has recreated with other bands and different titles, but these recordings are among my favorites.

Holdsworth's guitar work shines and weaves in and out of the mix. Very heady, indeed. Percolations part 1 and 2 is one huge drum solo. The first part being more band oriented, the second, pure Pierre Morelen in a classic workshop for percussion enthusiasts.

Maybe not a tune for love making, but it will propel you down a highway nearly six inches above the pavement. Expresso and Esnuria, penned by Morelen, follow the course with Francis Moze laying down some powerhouse bass lines, fretless howls and propulsive bottom.

Didier Malherbe's sax work on Esnuria adds flavor to the track. The final track Mireille is a soft melancholy end to an album that maintains high energy throughout, rather strange? It reminds me of the wind down after an all out Hurricane Party. Sleepy no, that on the next album. But then, along comes Gazeuse - one of the finest, most enjoyable, and accessible jazz rock albums to force itself into my conciousness, with the added bonus of Allan Holdsworth taking guitar duties.

The album sways between guitar-led jazz fusion the melodies reminiscent of the direction Zappa was taking around the same time to all out percussion jams - interestingly, some of the marimba lines and drum patterns are suspiciously similar to those currently appearing during Neil Peart's drum solos - one suspects a certain Canadian owns a well played version of this album.

The closing track, Mireille is sometimes criticised for sticking out like a sore thumb, and being something of a time filler - I believe this sits well with the rest of the album, providing a welcome laid back, minimalist finale to the preceding jazz feast.

I would highly recommend this album to anyone interested in mid '70s jazz rock fusion, but not to someone expecting wistful dreams of flying teapots, or indeed to anyone expecting progressive rock - this is jazz fusion, pure, simple, and perfect. The track, "Expresso," starts out the album on a high note. The main theme is set and everything is based off of it.

This theme is certainly catchy and will stay in your head for a long time. Next comes "Night Illusion," a Holdsworth tune. Holdsworth sets the mood on this one with his magnificent electric guitar playing. The highlight of this track is Pierre Moerlen's wonderful solo at the end of the piece.

Side two starts out with "Shadows Of Pts. Again, Holdsworth shines on this one, along with the percussionists. The next track, "Esnuria," is a good piece, but not the album's best. The album ends with "Mireille", whixh I'm guessing is a homage of sorts to Mireille Bauer, who played percussion on the album. Many think that this piece seems out of place on the album, but I disagree. I like the incorporation of the keyboards by Moze. It's a great way to finish off this excellent album. Overall, this album can be seen as a true turning point for Gong.

If you enjoy mallet-induced fusion with outstanding woodwind parts by Didier Malherebe and Holdsworthian guitar you probably would want to check this album out. Both Holdsworth and Malherbe contribute greatly on this album. Holdsworth also gets more say in writing and composing on this, which is why I think it is better than its successor, "Expresso II. Well, GAZEUSE, we soon agreed, was the best-recorded album ever, and even after so many years I still feel it's got a special 'shine' which has never been equalled.

Part of the explanation must lie with the soloists guitar virtuoso Allan Holdsworth really steals the show here ; another part lies with the producer and the engineers. If you go and listen to Bill Bruford, for example, you'll get exactly the same sound as on CD. His extended drum solo must be one of the most exciting ever: one of the few that don't make me reach for the skip button - on the contrary, I always look forward to it.

And then there are those gamelan-like sounds Moerlen produces on vibraphones and marimba together with his brother Benoit and Mireille Bauer, on "Percolations Part One" - all wonderfully dreamy and clear, and it was a masterstroke to combine them with subtle washes of pedal steel guitar.

The most attractive compositions on GAZEUSE are the uptempo numbers "Expresso" and "Esnuria", both of which always got my friend and me nodding to each other and grinning with pure pleasure, as the rhythms are incredibly enticing, the melodies are full of good humour, ensemble-playing is first-rate, and both Holdsworth and Bloomdido-Bad-Grass come up with some of their greatest solos.

Finally, the semi-acoustic "Mireille" on which the album ends is a piece I never paid much attention to, but over the years it has grown on me, and now I feel it's a deeply moving love song. I still like the Moerlen version better than the Allen one. They are almost two completely different bands. Allen's Gong being more psychedelic and Moerlen's being more Jazzy.

What's really cool about this one is the presence or another Allan, Mr. He doesn't sing, but is a much better prog guitarist. Holdsworth was LP to some great sessions while he was drifting around from band to band to band.

And, if you're fan of instrumental prog music, you really need to check out his solo albume. Pierre Moerlen took the lead and backed by the enormous contribution of Malherbe's woodwinds, produced a jazz-rock masterpiece. Pierre and Benoit Moerlen, Mireille Bauer and Mino Cinelou act like a percussive symphonic orchestra, utilizing legions of instruments, some of which I never heard of before. Apart from Pierre's drum kit, you can hear vibraphone, marimba, glockenspiel, xylophone, congas, African bell-gong, cuica, maracas, talking drum, vibra, timpani The best example of their capabilities is a two-part percussion suite Percolations, which remind you that even the sole percussive rhythm instruments can create real music.

Another important contribution to this album is unbelievable lead guitar of Allan Holdsworth. The sound of his guitar is really unique and compositions where he gives his best like Expresso or Shadows Of are masterpieces of jazz-rock. Although the confirmed adherents to the earlier Radio Gnome Invisible space-rock mythology will probably dismiss Gazeuse!

Some tasteful guitar after a minute with light drums, vibes and bass. Great sound with the guitar leading the way for some time.

Sax takes over for guitar after 3 minutes. Nice drum work 4 minutes in. Very good tune. A calm comes in quickly with vibes, bass and light drums as guitar is tastefully played. This contrast continues. Another excellent song. Gongs are hit occasionally. The tempo picks up with drums after 2 minutes, but it's brief. As the title suggests the song just sort of percolates slowly. Drums are back after 4 minutes as vibes go wild.

The drums gradually take right over until we have a full blown drum solo. It isn't the type of drum solo that makes me roll my eyes either, this is amazing folks! Flute, bass and vibes are all outstanding on this track.

Guitar comes in as the tempo picks up 3 minutes in. Man this guy can play the guitar! He just lights it up until 5 minutes in when we get a full band sound. A calm follows then flute, light drums and percussion take over. Some bass joins in and then guitar to end it. Fantastic track! And we are proud of it. Your order will be shipped the same day Monday to Friday in custom made superior packaging. If you don't like it, just send it back for a full refund.

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See the padlock symbol shown by most browsers when you checkout. Your information will not be shared. Year of release. The sleeve has a very small amount of sticker damage on the front but is ot herwise 'as new'! Sold Out - 'Request Next' to get an email if it comes back into stock. Discuss this item. UK Virgin second issue of the 7-track vinyl LP - the band's first completely instrumental album, glossy picture sleeve. The sleeve shows signs of spine Gong - Gazeuse!

(Vinyl, but the vinyl is in superb 'near mint' condition! This is a stunning ex-journalist copy.


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